Post on 17-Jul-2016
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Psychology and Neuroscience in Music Action
Dr Sharon Choa
Dr Efthymios Papatzikis
University of East Anglia
1Friday 18 November 11
Common Knowledge
bull Behaviour is a fundamental element in music (the way we react we think our experiences our needs our understanding)
bull The biological aspect is constantly present in music (we move our fingers we use our lungs we have goosebumps - tension - we yawn - relax - )
2Friday 18 November 11
UEA music context
bull Music Study
bull Practice an Instrument (eg manipulate techniques)
bull Learn to Conduct (eg learn to be leaders)
bull Perceive Music Differently
bull Discuss Music
bull Develop our Musical Senses and Understanding
3Friday 18 November 11
Psychology and Neuroscience
bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo
Module Structure
4Friday 18 November 11
Letrsquos Start with Psychology
bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm
Discuss in Small Groups
5Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Common Knowledge
bull Behaviour is a fundamental element in music (the way we react we think our experiences our needs our understanding)
bull The biological aspect is constantly present in music (we move our fingers we use our lungs we have goosebumps - tension - we yawn - relax - )
2Friday 18 November 11
UEA music context
bull Music Study
bull Practice an Instrument (eg manipulate techniques)
bull Learn to Conduct (eg learn to be leaders)
bull Perceive Music Differently
bull Discuss Music
bull Develop our Musical Senses and Understanding
3Friday 18 November 11
Psychology and Neuroscience
bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo
Module Structure
4Friday 18 November 11
Letrsquos Start with Psychology
bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm
Discuss in Small Groups
5Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
UEA music context
bull Music Study
bull Practice an Instrument (eg manipulate techniques)
bull Learn to Conduct (eg learn to be leaders)
bull Perceive Music Differently
bull Discuss Music
bull Develop our Musical Senses and Understanding
3Friday 18 November 11
Psychology and Neuroscience
bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo
Module Structure
4Friday 18 November 11
Letrsquos Start with Psychology
bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm
Discuss in Small Groups
5Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psychology and Neuroscience
bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo
Module Structure
4Friday 18 November 11
Letrsquos Start with Psychology
bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm
Discuss in Small Groups
5Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Letrsquos Start with Psychology
bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm
Discuss in Small Groups
5Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Music Psychology by Definition (1)
bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level
6Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Music Psychology by Definition (2)
bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience
(Wikihellip)
7Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Research
bull Phenomenological Approachbull Empirical Methodology (interviews
observations)bull Involves human beingsbull Includes terms like Mind Development
Learning Mental Framework
8Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Different Strands
bull Developmental Music Psychology (eg
teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation
and musical identityaesthetics) bull Clinical Music Psychology (eg music
therapyautismviolence)bull in between Music Psychology (eg
improvisationperception cognitive or emotional)
9Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Practice and Theory
bull Examples of music psychology in real life
Discuss in Small Groups
10Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
11Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psychology and Music Perception
bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions
12Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Themes of Music Perception
bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)
13Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo
14Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Pitch is not only frequencyhellipbull It embeds different particles like
intensity and soundwaves all derive from a source producing an acoustical stimulus
bull Auditory scene analysis bull Psycho-physical investigation is needed
to understand it
15Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip
(eg practicecultureemotionhellip) bull Forms pure and complex tones
16Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)
17Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales
bull Why
18Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull In order to facilitate musical memory melodic recognisability robustness for transmission
19Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages
20Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
bull Tonal language example Σταύρος + Σταυρός
bull Non-tonal language example Well + Well
21Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Pitch Perception
A415 A 440
22Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
23Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and
Jackendoff 1983)
24Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners
25Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
Musical Events
- Not all of equal importance- Some are structurally important
Provide a perceptual identity to the melody (Dibben 1994)
- Other are primarily ornamental
Musical Example Bach 1st Sonata for Solo Violin
26Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
In a linear system of tones
b - c - d - e - f - g
27Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
1) Melody in the key of C Major when played forward
2) Melody in the key of B major when played backwards
Bharucha 1984
28Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the context of music
C major key
F major key
29Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Tonal Perception
bull There is a relative perception of tone according to the content of music - event hierarchy
Example 1st part Bach Sonata
30Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
31Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
contact details
bull efp331mailharvardedu
end part I
32Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Summary part I
1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)
3) Different strands in music psychology (developmental emotional clinicalhellip)
2) Music Psychology is about lsquomusical behaviourrsquo
4) Music Perception (eg Pitch Perception - Tonal Perception)
5) Pitch Perception (is trained is relative relative to language)
6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)
33Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Behaviour in Instrumental Performance
34Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psy and Instrumental Performance
bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of
performances Formal Less Informal Public or not
35Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psy and Instrumental Performance
bull Key element of performance is communication (with audience + fellow musicians)
36Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psy and Instrumental Performance
- Representation and performance plan
- Practising
Sight Reading- Relation to musical structure
- Kinaesthetic memory
Motor Processes in Performance
- Theories of motor skills- Expressive movements
Measurements of performance
Models of music performance
- Based on measurements or intuitions
Physical factors in performance- Medical problems
- Stress factors
Psychological and Social Factors
- Development- Personality
- Music as occupation
ImprovisationPerformance
Evaluation - Feedback in Performance
in Gabrielsson 1999 2003
Performance Planning
37Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Gabrielsson 2003
bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo
Performance Planning
What is
38Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Performance Planning
bull Conception of feelings and emotionsbull Meanings narratives and movements
(imagined and real) related to the music performed
39Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Performance Planning
bull What musicians and researchers focus on in planning performance (consciously or
unconsciouslyhellip)
40Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Performance Planning
bull Deep vs Surface learning approachbull Reading times - Reaction times
indicating cognitive engagementbull Low - Mid - High - level planning
strategies
41Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Performance Planning
Low Level
Mid Level
High Level
trial-and-errorsight reading
speed alterationchunking
linking of elements
interpretationpatterningprioritisingmonitoring
42Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Performance Planning
bull Practice of Performance bull Different from Planningalthough
interconnectedbull macro- and micro- levelsbull mental vs practical aspects
43Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)
Types of Musicians Practising
44Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Practice
bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought
to be together but not
Types of Musicians Practising
45Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Prof Musiciansrsquo Practice
Deliberate Practice
46Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Deliberate Practice
bull For professional musicians is crucial
Carefully structured activities
in order to improve performance
High Motivation
Extended Effort
Full Attention
Favourable Environment
Support
47Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
PracticeThe way experts practise
1Acquire an overview of the music (according to abilityinternal
aural representation)
2According to structure divide the piece into sections
3Subsectionssolving technical problems
4The more complex the music the smaller the chunks
5Units start to become larger as practice progress
6Hierarchical structure appears to develop
7Performance plans integrate to a coherent whole(guided
by musical considerations)
48Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
49Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psy And Music Education
bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic
ability
50Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The pianist example
Nature vs Nurture
51Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
PSY and Music Education
While self-selection for musicianship by individuals with innate functional and structural
brain differences cannot be completely ruled out the evidence indicates that it is musical training
that leads to changes in brain function and structure
Schlaug 2003
52Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Training in Western Edu Comm
Teacher Student
Material Context
Jones 2005Biggs 19992007
Light and Cox 2009
53Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
What is Learning
What is Teaching
54Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Learning
1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo
Product learning is a change in behaviour
Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and
understanding of the reality
55Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Teaching
(a) Teaching is transmission of knowledge (kurtrsquos template)
(b) Teaching is a facilitation process towards knowledge
construction
XWorldPlugInBrainBucketVTS_05_1VOBlnk
7
Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other
Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life
Teaching as Pumping Knowledge into Student
8
Key Neuromyth or Brain ScamBrain Download Fallacy
Incorrect Metaphor
Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge
Remarkable Plasticityfrom Neuroscience amp Genetics
56Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Education
bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts
57Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Education
Teaching and Learning Theories
Educational Concepts
58Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Important TampL Theories
bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive
(stimulus-response)
(the concern with self)
(communities of practise)
(active process of knowledge construction)
(all the above together)
59Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Models of Learning-Tools for Teaching
bull Generated by the lsquoLearning Theoriesrsquobull 4 categories
60Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Information Processing Models
Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas
Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis
13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized
Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses
13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth
Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings
MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability
Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language
61Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Social Family of Models
Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding
Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning
Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs
Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles
Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour
Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons
Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study
62Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Personal Family of Models
Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self
13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy
Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others
Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development
Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others
63Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Behavioural systems Family of Models
Social13 Learning
Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13
reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13
control
Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types
Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon
SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13
of13 study
Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13
of13 study
Anxiety13 Reducampon
Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13
self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13
response
64Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
1st Musical Example
65Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
2nd Musical Example
66Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Why is it important to Know
bull You can handle better your own education and practice (constructional approach vs behavioural approach)
bull Different professional exit points - but
bull Will need to employ variations of the above
bull Knowingpotential for greater achievement
67Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Psy and Music Education
Group Discussion
How would you approach a lesson if were a teacher
68Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
69Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
In Music Psychology
bull Compositionbull Improvisationbull Aestheticsbull Creativity
70Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
In its discussionsldquoquestions fundamental assumptions
about the nature and role of musical activity and the
musical artefactrdquo
Impett 2009 p403
71Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
It is not widely researched
ldquoLeast studied least understood of all musical artefactsrdquo
Sloboda 1985
ldquoLittle progress has been made in understanding composition per serdquo
Brown 2003
72Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
What is Composition in terms of Psychology
73Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
Composition (organisation of musical sound) could be seen as a process of self-reflection
from where self-expression derives
74Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated
expression the conscious embodiment of psychological
statesrdquo
Impett 2009
75Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Composition Psychology
76Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Composition Psychology
Creativity
77Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
How could we perceive Composition
78Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Composition
it is a lsquoDiscussion of Mindsrsquo
Composer + Performer + Audience
79Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
ldquoAlthough Composition to some degree is innateit is a product of a
situated processrdquo
Impett 2009
80Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Composition
a Process
whichby itself is in some sense creative
81Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Composition
In this ProcesshellipMetaphors and Imagination come into play
where personal aesthetics concepts and innovation (for example) shape the outcome
82Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
based on the aforementionedSome fundamental principles exist
eg rhythm perception tonal perception
83Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Psychology of Composition
Howevera precise nature for a personsrsquos psychology of
composition seems to be a highly individual question
84Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
85Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Improvisation and Psychology
Studying Improvisation and its psychological aspect might provide
further insight into Composition
Why
86Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Improvisation and Psychology
ldquoUnlike musical composition which can be mostly construed as a more-or-
less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the
human bodyrdquo
Ashley 2009
87Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
To Improvisehellipis
to produce music (composing) audibly
and in real time
88Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Improvisation and Psychology
bull Psychology of Musical Performance (eg motor behaviourhellip)
bull Pitch
bull Tone (perception)
bull and othersapproaching
deeper lsquocreativityrsquo
come altogether and in real time into play
89Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
improvisation and Psychology
bull Learningbull Teachingbull Cognitionbull Society
lsquoCreativityrsquois further connected with
90Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Teaching and Learning
Perception
Instrumental Performance Composition-Improvisation
Psychology of Music
91Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
end of part II92Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Music And Neuroscience
1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning
2) Knowledge acquisition is governed by factors that are not
fully under conscious control and can hardly be influenced
externally (Roth 2006)
93Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
However we try to understand this lsquoknowledge acquisitionrsquo
frameworkand this is where Neuroscience comes into Music
(performance teaching learninghellip)
94Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
What is Neuroscience
bull Neuroscience is this science which studies the Brain
bull This is where new experiences and knowledge are processed by interconnected Neurons which
become activated when a sensorial input is perceived
95Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
How the Brain looks like
96Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
97Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
98Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
lsquoBrain Voyagerrsquo Pictures
99Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
bull The structure of the brain alters continuously
throughout our lives
bull This happens via experiences stimuli studies a walk in the parkby playing a musical
instrument
100Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The change of the brain structure we call it - Plasticity -
lsquoexperience-driven brain plasticityrsquo
101Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Why is it important to know about lsquoPlasticityrsquo
By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos
saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political
version of schooling
102Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
A bit of History
ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt
almost 5000 years agohelliprdquo
Minagar Ragheb and Kelley 2003
103Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
A Musical Fact
We know that evidence of music has been confirmed in every civilisation
throughout history
Chailley 1964
104Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology
(egGardner 1983)
Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful
musical experience
105Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
History of Neuroscience in Music
One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)
106Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Supporting Areas
bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology
107Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Ways (Tools) of neuroscientific Rsc
bullMagnetic Resonance Imaging (MRI)
bullfunctional MRI
bullElectroencephalography (EEG)
bullEvent Related Potentials (ERPs)
bullTranscranial magnetic Stimulation (TMS)
bullMagnetoencephalography (MEG)
bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target
108Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Research Areas in Music
bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors
109Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Perception and Cognition -Musical Performance
Your Opinionhellip
Group Discussion
110Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Perception in Meuromusic
Perception (in music) is based on the sensory information that is
gathered by the brain regarding onersquos external and internal
environment
111Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Perception in Neuromusic
PitchRhythm
112Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
We donrsquot know yet wether musical cognition and perception is
(a) specifically localised to distinct neural networks
(b) made up of shared neural networks that are associated with other brain processes
(c) a bit of both
113Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Musical Performance
Motor Learning and Instrumental Training
the act of making music is physically
intensivea pianist may bimanually
coordinate and lsquoscrutinisersquo up to 1800 notes per minute
114Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Musical Performance
3 parts of the brain are involved
bullthe sensorimotor cortex (interpretation of stimuli control of muscles)
bullthe basal ganglia (muscles in cooperative functions)
bullthe cerebellum (fine-tuning of motor movements stores motor patterns)
115Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Growth and Development proceed from general to specific
116Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Musicians appear to process new incoming stimuli more effectively
compared to non-musicians
117Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Meaning
if you practise more your brain learns to work more effectively
118Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop
brain cells and neurons
makes us even more effective
119Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
It is evident that musicians have different brain structure than
non-musiciansAmunts et al 1997Schlaug et al 1995b
enhanced if training has started earlier in life
120Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
For musical training there is this concept of lsquodeliberate practicersquo
motivation resources and attention determine the amount and quality of practice undertaken
121Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
In Neuroscience scientists uncovered evidence showing a close association
between practice and expertisehellip
hours of deliberate practice
level of expertise
Lehmann and Gruber 2006
122Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
implications to Musical performance and Training
1How to practise is best learned by practising
2Start early but not to early with playing an instrument
3Breaks and sleep is essential for motor learning and memory
4Use the human lsquomirror systemrsquo
123Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Examples of practisinghellip
124Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Neuroscience and Emotion in Music
Largely overlapping networks required for the processing of both
general and music-specific emotions
125Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Whether the neural basis of emotional appraisal of music is
innate or rather acquired through enculturation is subject
to ongoing discussion
Peretz and Sloboda 2005
126Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Nature vs NurtureProblem
127Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Howeverrecognition of emotions appears independent of musical
training
howhellipfamily environment possibly
128Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Recognising from Experiencing musical emotion is different
129Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the
performer to shape the emotional expression that is communicated to
the listenerhellip
slow tempo by the composerarticulation of timing by the performer
130Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Neural Correlates of Emotion Processing
bullHemispheric Differences
bullDistinction between high-level cortical structures and deeper-level limbic structures
131Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Howevercognition and emotion is not always separated
132Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Emotions differ with respect to
their valance (negative-positive)their arousal potential (low-high)
133Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Emotions when Performing
What happens with our emotions when we perform
134Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Emotions when Performing
Emotions are not processed (in neuroscientific terms) in the same way as
when we listen to music
135Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Assumption 1
Cognitive processes interfere with emotional processes at both pre-
attentive and attentive level
this may reduce the intensity of emotional experience
example a lsquocadenzarsquo
136Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Assumption 2
Perceptual and cognitive processes enhance emotional experiences during
performance
movements partially convey emotional information
137Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
There should exist balance between emotional and cognitive reactions
when performing
138Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
end part III
139Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Neuroscience in Music Learning
At birth brain has almost most of its neurons in place
hellipneurogenesis will eventually follow
140Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The parts of the brain
141Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Neurogenesis is activated by environmental stimulation and
learning
meaning thatwe alter and perhaps increase the brainrsquos
functional capacity
You can keep your brain lsquoaliversquo if you never stop
learning
142Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Howeverdifferent brain systems do not mature in parallel and in the
same speed
eg prefrontal cortex develops until the age of 20 years or
older
143Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The biological advantage is that the brain can optimally adapt to the environment in
which the individual is raised in order to develop
behavioural skills and strategieshellip
144Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
NATURE vs NURTURE
the old dispute
145Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
the keyboard player example
146Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
In timeand starting at birth the balance between exogenous factors
shifts towards environmental influences that gradually gain more
influence on genetic programming
147Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Two windows of huge brain (wiring) development
bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)
148Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
The Neuro-modelhelliphow neurons develop
bullAxonbullDendrites
bullDendritesbullAxon
Sending Neuron
Receiving Neuron
electric currents
149Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
150Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
In the main soma of neuron the electrical signal transforms into a
chemical signal
This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and
molecular events which change the neuronrsquos growth and organisation in
relation to other neurons
151Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will
survive)for emotionmovementfor everything
Maternal behaviour can stimulate synaptogenesis
Weaver et al 2002 chapter 2 fill in list
152Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Learning and Neuroscience
What is learning and what happens during learning
153Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Innate lsquodrive to learnrsquo in humans
Successful learning induces a strong feeling of reward
lsquoDrugs of rewardrsquohellip
bulldopaminebullserotoninebullnoradrenalin
Modulate arousal and mood
154Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Soemotional commitment is absolutely essential for higher
associative learning
155Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Why
learning when connected to emotion induces electrical chemical and
structural changes in the neuronal networks
156Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Be carefulhellip
- Not talking about an encyclopaedia of factshellip
- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+
emotional lsquogrammarrsquo)
157Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo
These determine learning
158Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Memory and Neuroscience
Here comesMEMORY
159Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
How do we Remember
Retrieval of memories is not a passive phenomenon
NOT DOWNLOADING
160Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Memory
bullReinforcement or alteration of stored informationhellip
bullWe consolidate memory slowlyover timehellip
bullInitially memories are fragilesensitive to disruption
161Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Memory
When retrieving we do not use identical copies of stored
informationwe reconstruct them again and again
Optimal time-frame for memory consolidation is within 24 hours
bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo
162Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Memory Emotions
bull Contribution of emotions for learning
bull Contribution of emotions for memory
bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts
bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)
Important Facts for Learning I
163Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)
bull We need to be lsquoturned onrsquohellip(ie dopamine)
bull Early start helps optimisation of functions
bull Howeverwe are all individuals and there is no identical learning situation
Important Facts for Learning II
164Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
165Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole
individual (chapter VIII Hassler Mand Miller LK)
166Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
We say this becausehellipLearning alters brain structure
167Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
For lsquogiftedrsquo musicians (having outstanding musical ability) it has been
argued that an increased leftward cortical asymmetry exists
Slaug 2001 chapter VIII
168Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
An imaginable person described by the outcome could be
1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials
2) who possesses a very fine ear for music and attends pre-consciously to musical materials
3) heshe reacts to music as a stressor (increased heart rate andor hormone production)
4) the person is likely to be not right-handed
5) may be vulnerable to atopic diseases especially if male
Summary of Neuro-Research on Musical talent
169Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females
7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)
8) musical talent is accompanied by above average spatial abilities
170Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
When Nature exaggerates
Musical Savantshellip (+ mental disability)
171Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
We discuss of a musical savant if
(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability
(b) musical savants need to be strongly emotionally interested in music
172Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Some times there are also developmental disabilities among music savantshellip (blindness and
autism)
173Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Savant skills are often associated with ASD (Autism Spectrum Disorders)
174Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
Example of a Musical Savant
175Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
These people understand their environment in a completely different wayhellipWe just need to find a functional
way to communicate with themhellip
176Friday 18 November 11
end part IV
177Friday 18 November 11
end part IV
177Friday 18 November 11