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Deliberate Practice and Performance in Music, Games, Sports, Education, and Professions: A Meta-Analysis
More than 20 years ago, researchers proposed that individual differences in performance in such domains as music, sports, and games largely reflect individual differences in amount of deliberate practice, which was defined as engagement in structured activities created specifically to improve performance in a domain. This view is a frequent topic of popular-science writing—but is it supported by empirical evidence? To answer this question, we conducted a meta-analysis covering all major domains in which deliberate practice has been investigated. We found that deliberate practice explained 26% of the variance in performance for games, 21% for music, 18% for sports, 4% for education, and less than 1% for professions. We conclude that deliberate practice is important, but not as important as has been argued.
Journal Article
Sounding Out the State of Indonesian Music
Sounding Out the State of Indonesian
Music showcases the breadth and complexity of
the music of Indonesia. By bringing together chapters on
the merging of Batak musical preferences and popular music
aesthetics; the vernacular cosmopolitanism of a Balinese rock band;
the burgeoning underground noise scene; the growing interest in
kroncong in the United States; and what is included and
excluded on Indonesian media, editors Andrew McGraw and Christopher
J. Miller expand the scope of Indonesian music studies. Essays
analyzing the perception of decline among gamelan musicians in
Central Java; changes in performing arts patronage in Bali; how
gamelan communities form between Bali and North America; and
reflecting on the \"refusion\" of American mathcore and Balinese
gamelan offer new perspectives on more familiar topics.
Sounding Out the State of Indonesian Music calls for a
new paradigm in popular music studies, grapples with the imperative
to decolonialize, and recognizes the field's grounding in diverse
forms of practice.
eBook
Liveness in modern music : musicians, technology, and the perception of performance
This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts--tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.
Book
Towards the Phenomenology of Musical Performance
For several decades, aesthetic debates concerning music have largely taken place within analytic philosophy. Since a surge of interest in authenticity, these debates have increasingly focused on issues of musical performance. This is unsurprising because actual performances individualize the ways specific musical works appear, thus providing the primary source of aesthetic experiences. Moreover, the study of broadly understood experience has been an important focus of phenomenology, making it natural to expand analytic reflection by including the phenomenological tradition. In this article, I discuss methodological considerations that open the way for research on musical performance within phenomenological aesthetics while simultaneously supplementing analytic philosophy of music. By examining a passage from Fryderyk Chopin’s Piano Sonata in B Minor, No. 3, Op. 58, as performed by Maurizio Pollini and Rafał Blechacz, I demonstrate both the practical application and the effectiveness of this proposed research methodology.
Journal Article
Discrimination in Evaluation: A Call for Greater Attention to Issues of Racial Discrimination in Experimental Musical Performance Evaluation Research
This article provides a summary and critical review of the experimental perceptual studies within music psychology which have investigated the effect of evaluators’ perceived race of performers and the interaction with evaluators’ race on performance evaluations. With racial inequities continuing to be a major issue within historically-European classical music performance, controlled experimental studies can provide an important source of empirical data on which to base productive interventions. This article identifies a number of issues in the existing research which could benefit from future interdisciplinary collaboration. These include the need to define and control for racialized characteristics of performance variables, the need for further consideration of potential racial bias in evaluative frameworks and concepts, the need to address the racialization of research subjects and participants, and the need to avoid reaffirming harmful stereotypes through study designs and unsupported conjectures.
Journal Article
Kenny Music Performance Anxiety Inventory: Seven or eleven categories of response? Some empirical evidence
The objective of this work was to propose an adaptation of the Kenny Music Performance Anxiety Inventory (KMPAI) scale for the assessment of musical performance anxiety that offers better psychometric indices (such as reliability and sensitivity) than the original scale, and that is more in line with our cognitive/cultural context. The instrument has been presented to 134 musicians in two forms: (a) the original questionnaire (with 7 response options) and (b) another with an extended response scale (with 11 anchor points). The results suggest that the adapted form (KMPAI-ERE) improves its psychometric and discriminative properties compared to the original form, and is proposed as valid for the assessment of performance anxiety. It was concluded that this form of the questionnaire can be proposed as an alternative to the original form in future research, as it allows for more precise responses in its scope.
Journal Article