By Adina Mornell
Musicians, dancers and athletes spend a big period of time and energy getting ready for functionality within the desire of good fortune, aiming for simple task, flexibility and expressiveness. Their use of visualization, verbal labels, muscle power, and emotion is frequently dependent upon instinct rather than wisdom. Art in Motion intends to fill this vacuum. powerful education and educating hinge on motivation, self-regulation, beneficial suggestions, and an knowing of belief, cognition, timing, motor ability studying, and automation. information regarding empirical study touching on psychological representations of move and musical targets can force the inventive technique, facilitating the artist at paintings. cutting edge and intentional - practical and significant - options of perform are constructed.
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Additional info for Art in Motion II: Motor Skills, Motivation, and Musical Practice
At least, we have some scientific methods that will enable us to find out whether or not these principles are useful. We also mentioned the challenge of measurement. If it is correct that high-level musicians rarely make errors, or the making of errors does not distinguish well between performers of different skill levels, then a focus on measures of error and similar phenomena in motor learning might not be very useful. Some other measurement scheme must be developed, perhaps one which focuses on various artistic and/or emotional aspects of performance that are scarcely touched in motor learning.
This leads to two main outcomes. First, it provides fundamental concepts and basic methods that could be used in research in music and music instruction. Given the solution of the problem of measurement, these general methods could be used immediately in high-level music research. Second, given these methods in motor learning, we have described a number of research findings that seem to run counter to popular belief and/or to the common understanding of the learning process. These have encouraged the motor-learning field to re-think the principles, theories, and teaching methods that come from them.
Imagine the example of driving an automobile and you were to control the four wheels independently in order to travel along a road – a very challenging task impossible to match. Thus, the wheels are connected via axles in order to reduce the number of parameters (DOFs) to be controlled – and the steering is accomplished be moving just the front wheels simultaneously. According to Bernstein complexity has been reduced by reducing the number of DOFs, and functional units developed (= synergy). Even in a repetitive limb motion like walking or running it cannot be that the brain computes, for example, the postural algorithm to accommodate for the varying ground reaction forces according to Newton’s third law • Klaus Schneider 57 (actio-reactio).
Art in Motion II: Motor Skills, Motivation, and Musical Practice by Adina Mornell